– Reaktor 6 core manual free

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
REAKTOR FACTORY LIBRARY MANUAL. REAKTOR FACTORY LIBRARY MANUAL. BLOCKS. REAKTOR BLOCKS MANUAL · REAKTOR BLOCKS FRAMEWORK MANUAL BUILDING IN CORE. View online ( pages) or download PDF (8 MB) Native Instruments REAKTOR 6 Manual • REAKTOR 6 Musical Equipment PDF manual download and more Native.
 
 

 

Reaktor 6 core manual free.Native Instruments Reaktor Core Tutorial

 

Check the Status of your audio interface. If the hardware is connected and working, this area shows the message Running. Set the Sample Rate for your audio interface. Sample rates of and Hz are commonly used and recommended.

Set the Latency for your audio interface. Latency refers to the period of time the computer needs to process an audio signal. It is determined by the size of the audio buffer in samples. Buffer sizes of and samples are commonly used and recommend. If the computer is not able to provide the amount of processing power needed to complete all audio calculations in time, crackles and drop-outs in the audio playback might occur.

In this case, gradually increase the size of the audio buffer until the playback is clean. Most of the time you will only need to use two of each for the left and right stereo channels , but in some cases more outputs are required. For example, an Ensemble hosting multiple Instruments can benefit from individual outputs for each of them.

To set the audio inputs: 1. Click on the Inputs tab. Select the input you wish to use from the menu. Click on the Outputs tab. Select the output you wish to use from the menu. To access the MIDI settings: 1. Click on the MIDI tab. Click on the Status of the device you wish to use. Select On from the menu. These changes are saved as part of your host sequencer project. All settings including the arrangement of Blocks and the connections made between them are saved and recalled with your host sequencer project.

This protects any loaded Ensemble, allowing you to use it as an instrument or effect without needing to worry about accidentally altering the Ensemble and losing the changes you may have made. Click on the Save Ensemble button in the Toolbar. In the file dialog, choose the desired location and name for the local copy of your Ensemble and click Save. The next time the Save Ensemble button turns red to indicate that changes will be lost when closing the project, you can simply click on it to save the changes to your previously created local copy.

Enabling Automatic Saving You can also enable automatic saving of the Ensemble. To enable automatic saving of the Ensemble: 1. You can disable automatic saving by clicking on the lit Enable Automatic Saving with Host button.

This resets the automatic saving, and you can click on the button again to enable automatic saving with a new local copy of your Ensemble. In the file dialog, navigate to your Ensemble file and select it. Click open to confirm your selection. Drag and Drop The most basic way of loading Ensemble files is via drag and drop: 1.

Using your operating system’s file browser, locate the Ensemble file you wish to load. If you have already loaded an Ensemble, you have to drag the Ensemble file into the Panel of the existing Ensemble. Release the mouse button. If you drag an Ensemble file into the Structure of an existing Ensemble, it will be added to the existing Ensemble as an Instrument. Clicking on this button again will reveal the Instrument Panel.

Generally this equates to the number of notes that the Instrument can produce at once, but this may not always be the case. The Instrument Header can contain any combination of the described controls and displays, or even not be shown at all for specific Instruments.

Not all Instruments use this feature. Generally the A view is the main view, featuring the main controls needed to use the instrument or effect. The B view can be any number of things. When you recall a Snapshot, all the Panel controls are restored to the state they were in when the Snapshot was originally created. Most pre-built Ensembles include a number of Snapshots for the included Instruments, ready to be used in your music.

This area gives you a better overview over the available Snapshots for the selected Instrument. Snapshots are stored in the Ensemble, so you need to save the Ensemble or Instrument in order to make changes to the Snapshots permanent. Presets contain a link to their original Ensemble file, which is automatically loaded as soon as the Preset file is opened.

If the Ensemble file is already open, then the Preset is loaded like a Snapshot. Preset files can be saved and loaded via the Files menu: 1. This opens a dialog window asking you choose a location and a name for the new Preset file. This opens a dialog window asking you choose a Preset file from your hard drive to load. Presets can also be saved and loaded via the Presets tab of the Side Pane.

Creating Presets and Folders in the Presets Tab As an example, this section will walk through the process of creating a Preset folder and saving Presets into that folder. Click on the list icon to open the Presets tab in the Side Pane. Right-click on the icon labelled User to open the context menu and select New Folder. When the folder appears, you are able to name it. Type in the name My Presets and press Enter. YnK Audio. Deep Data Loops.

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Transient designer. Dynamic Range. Midi Controller. Transient Shaper. MIDI Effects. Finally, the signal is mixed with the unprocessed one and sent to the output Mix Automation, Additional Mix and Output.

These two sections control whether the chorus is switched on or off and which signal. The Delay knob on the other hand adjusts the delay times offset, thus controlling the.

The Spread control additionally changes this offset slightly for each LFO independent-. The Intensity knob mainly controls the sound of the chorus:. After passing through the delay units, the signal is routed to the Feedback section. The FB amount knob is bi-polar: At the right there is nor-. Waveform and LFO determine the shape and number of low frequency oscillators.

Rate controls how fast the delay times are modulated by the low frequency oscillators. Spread knob. Shift controls the phase to which the oscillators are reset at synchronization events. After the chorus section itself the audio signal can be saturated and equalized. Wet balance knob position.

Mix balance can also be automated by a ramp generator,. The ramp generator trigger source. This is. Tremolo enables amplitude modulation, synchronized to the delay time modulation. Echomania is an advanced and spectacular-sounding delay box that excels at tight, temposynced rhythms. The delay time is handily synced to the global MIDI clock, for creating stretchy rhythmic effects.

A drive and noise circuit combined with a feedback offset control recreate vintage sounds. Get dubbing! Play some audio through Echomania. The delay time is set in 16th note increments, synced to the global MIDI clock. The Unit and Divisor windows, to the right of the Time control, allow you to fine tune the beat division and create different rhythmic feels—to be precise, the enumerator divided by the denominator scales the delay time fraction.

You can set the amount of time modulation with the Amount knob. The Freq knob controls the rate of the LFO in 16th notes. The Unit knob divides the speed of the global clock by the Unit amount.

The Width control morphs between sine and pulselike, or, if the Tri button is engaged, triangle and saw tooth waveshapes. The starting phase of the LFO can be adjusted positively or negatively using the Phse knob. If you engage the Snc button, the right-side LFO can be phase-offset from the left side by the amount set with the Right knob.

This can create a variety of woozy stereo spinning and phasing effects. The EQ module processes the delayed signal. You can create synchronized filter sweeps, fizzing hi-frequency delay tails, and all manner of dubby effects by boosting and modulating select frequency bands. The Eq Res control lets you dial in the peak width of the frequency, while EQ Boost lets you crank it up. The Mixer lets you add a tape saturation-like Dist Drive effect and Noise to give everything that just-pulled-out-of-the-closet feeling.

The Dry Wet section allows you to balance the amount of dry and delayed signal. EnFX consists of three separate effects: an envelope-follower filter, distortion, and delay. Even though the effects are together in one ensemble, they can also be used independently. Each effect features a identical Input, Envelope Follower, and Output sections.

These sections will be explained first:. An envelope follower isn t a dog that chases the postman. This envelope can control different parameters, depending on the effect. The result is an effect that wraps itself around the incoming audio for an organic, natural sound. It shapes the output of the peak detector. Lower values, i. Use mono mode for a more stable envelope. In stereo mode, the two incoming channels are processed seperately -a separate envelope of the left and the right channel is generated.

In mono mode, both channels are mixed together before extracting the envelope. Lower values at the left result in more sensitivity to smaller peaks e. HiHats , higher values instead only detect really high peaks like bass drums etc. Higher values result in a more smoothed signal following the envelope of the incoming signal. At the center the EnFX delay is a delay whose time is modulated by an envelope follower.

It s useful for very long delays due to internal feedback enhancements as well as for unique pitch shifting. See the envelope follower info above for information about the envelope follower section.

The display below shows the delay time in 16th notes according to the midi tempo. Internally, the linear output of the knob is processed by a function mapping it onto a grid to allow very short decays as well as very long decays. The grid also performs triplet division of the time 0. Turn to the right for a longer delay times at high envelope follower signals, turn to the left for shorter delay times at high envlope follower signals.

Use mid position to switch the modulation off. Turn right to amplify very silent signals in the feedback tail, turn left to amplify only the louder signals.

Use it to make very long and damped feedbacks audible. Turn to the left for smooth transistions, turn to the right for sharper and faster response to level changes. Turn to the left for no swapping, i.

Turn to mid position for mono processing, i. Turn to the right for crossfading, i. More feedback leads to a decay with more repeats. Turn to the right for a more wet signal at high envelope follower signals, turn to the left for a more dry signal at high envlope follower signals.

EnFX Distortion is a overdrive effect with a preand a post-distortion equalization filter whose center freqeuncies are controlled by an envelope follower. Usefull for all kinds of overdive effects, but can also be used for guitar wahwah etc. In the distorion section, the left knobs belong to the “push” filter that modifies the signal before the distortion; the right knobs belong to the “pop” post-distortion equalizer.

Turn to the right for a higher frequency at high envelope follower signals, turn to the left for lower freqeuncies at high envlope follower signals. On high distortion levels the signal might tend to fade. Increase the drive value to fade it back in. The value displayed below shows the time in milliseconds that goes by before another random event is generated. Turn right for more modulation. Here you can see also the effect of modulation by the envelope follower and the slow random generator.

Left represents a low freqeuncy, right a high freqeuncy. Turn left to make the filter freqeuncy be reduced on high incoming envelopes, turn right for the opposite, i.

The left knob modifies the lower cutoff freqeuncy, the right one the higher freqeuncy. These effects can be chained in a variety of ways offering a large range of sounddesign possibilities. This ability to instantly switch between sets is what really brings Fast FX to life. The snapshots are made up of 32 x 8 slot banks. Select bank by the using the step Program Selector slider at the bottom of the panel, and select the slot by using the.

When Flow is enabled, selecting a new bank or slot automatically loads the preset. Fast FX has two pairs of stereo inputs. The first pair of inputs are connected to the. Level and Mute control the input level. This section allows configuration of the signal flow order between the 6 effects. Level and Mute control the output level.

All effects can be bypassed simultaneously. The mix section controls the overall mix between the dry input signal and the wet,. The mix is defined separately for low and high frequencies with the.

Spin determines how the loop length changes when the effect is enabled. A setting of. Spin Time determines the speed of loop length changing, and Jtr sets the delay time. This effect slices incoming sound into grains, and then slides the pitch, so that the. Slice A and Slice B set the length of first and second slices respectively, in 16th steps. Length sets the grain length in milliseconds.

Below, the knob labelled Mod sets the. The Rnd XY field is used to. Asym sets the grain size asymmetry between the left and right channels.

Decay con-. This effect also slices the incoming sound, and then shifts the position and playback. The two slicers work on a rotating basis, so therefore the slice lengths alternate be-. The SncVar enables a mathematical formula to automatically rearrange and vary the.

Rev A and Rev B enable reverse playback of the first and second slices. This section features a step sequencer that modulates the amplitude of the incom-. The horizontal slider above the sequencer display selects one of the The preset sequence can be varied by reducing the loop length with. This control. Gate determines the length of the open gate, as a proportion of a sequencer step. The section features a stereo delay line with a modulated filter in the feedback path.

Delay sets the delay time in 16th steps, Fbck sets the feedback amount and Asym sets. Filter sets the centre frequency of the feedback filter. The cutoff is also modulated a. The XY X axis. This section features a sequenced filter. The horizontal slider above the sequencer. Length sets the loop length of the se-.

Mod defines how much the extent to which the sequencer modulates the fil-. Center and Reso set the filter cutoff and resonance respectively, and Width sets the fil-. Smth controls the speed that of changes to the cutoff frequency from the.

Fast FX has a total of snapshot slots, represented by 32 x 8 slot programs. To se-. The total slot data is stored in a large event table inside the structure. If you wish. The bookmark feature enables you to store your favourite presets numbers and quickly. Disable this if you want to copy the cur-.

You can drop samples on the sampler window, or double click on it to open the REAK-. Select the desired sample from the map using the Select knob.

Loop Lng and Offset. Pitch trans-. The Loopplayer has 16 different automatic variation patterns, these can be selected.

The filter can be bypassed by pressing the Bps switch. Rnd Mrph determines. Fit links sample pitch with time stretching, like a conventional sampler i. Smooth controls the sampler grain smoothness, and Gain determines the output level. Programs 1 to 16 are stored in bank. As you surely remember, the three areas are meant for input, output, and normal modules:.

Right-click in the normal area to bring up the module creation menu:. The second submenu is called Expert Macro and contains macros meant to be used alongside built-in modules for low-level stuff. The third submenu, called Standard Macro , is the one we want to use:. To delete it there are two options. One is to right-click on the module and select Delete Module :. Obviously, we need some inputs and some outputs for our core cell. To be exact we need only one output — for the LP signal.

To create it right-click in the outputs area:. This is what the structure is going to look like:. The second input is a little bit more complicated. That means frequency,. We obviously need to convert from semitones to Hz. We can do that either on the primary level using the Expon.

F module or inside our Reaktor Core structure. As the name implies and the info text states , this module converts between P pitch and F frequency scales — exactly what we need. That should do it, but wait!

We also need to have the modulation input use the semitones pitch scale. As a user of the Reaktor primary level, you probably expect us to add the two signals together now.

In fact, we could do that, but in Reaktor Core the Add is considered a low-level module, and using it generally requires some knowledge of fundamental Reaktor Core low-level working principles.

They are not that complex and will be described later in this text. One other thing we need to do is to give our core cell a name. You can open the Properties window later by double-clicking on the QuickBus.

Although you can rename this QuickBus, we believe the current name is perfect, because it matches the name of the input connected to the QuickBus. This is how your structure should look now:. Before we proceed we need to take a look at one particular convention used in the Standard Macros of the Reaktor Core library. Audio signals are obviously signals which carry audio information.

Control signals, on the other hand, do not carry audio, they are used to control other modules. The F and Res inputs are obviously control type. A sine oscillator module, on the other hand, has only a single control input for the frequency , and a single audio output:.

And if we take a look at the Rect LFO module, it has two control inputs — for controlling the frequency and pulse width the third input is of event type. Some types of processing, mixing for example, make sense for both audio and control types of signals. That is absolutely OK because you are intending to use an audio signal as a control signal. We assume that the opposite case, in which you really mean to use a control signal as an audio signal, would be pretty rare.

Also as you probably know, primary-level event signals have different propagation rules than audio signals. Examples include signals processed by Logic AND or similar primary-level modules.

The core-cell ports are the place where both worlds meet, and therefore, they use a bit of the primary-level terminology. We are going to learn a little bit more about this concept while trying to build a tape-echo-effect emulation. We will start by building a simple digital echo, then enhance it to emulate some features of a tape echo. We obviously need an audio input and an audio output for our delay core cell. We will use a QuickBus connection for the input and a normal connection for the output:.

We also need an event input for controlling the delay time. One thing to be aware of here is that, on the primary level, the delay time is usually expressed in milliseconds, while Reaktor Core library delay macros expect it to be in seconds. No problem, there is a conversion module available for that. So far, we only have a single echo, and it would also be nice to hear the original signal, not just the echo. To get the original signal at the output we need to. We will connect the control x input of the crossfade to a new event input to control the mix between the dry unprocessed and wet delayed signals.

To have multiple echoes we need to feed a fraction of the delayed signal back to the delay input. First we need to attenuate the delayed signal. We use the Amount amp because we want to control the amount of the signal that is fed back. The reasonable feedback amount range is something like [ When you try out this delay, be careful with the feedback amount, because you can easily reach excessive signal levels there is no saturation in our circuitry yet. Without it, you will be able to experiment with high feedback levels and hear the delay saturating.

The Z sign indicates that a digital feedback has occurred in the structure, and it is meant for advanced structure design, where such information can be an important hint for the structure designer. It is already a decent digital echo, but we want to show you a feature of the library that you can use as a trick to make your structure smaller.

The signal at the chain input is not attenuated. Congratulations, you have built a simple digital-echo effect.

The next step is to add some tape feel to it. In the echo effect we just built, we used a Delay 4p macro from the library, which gives us a reasonably high-quality digital delay. But, high-quality or not, it still sounds too digital. Double-click it to dive inside. You will see an empty structure, similar to the one you are diving from:. It also works similarly, but there are some important differences because the previous one was a structure of a Reaktor Core cell, whereas this one is an internal structure of a Reaktor Core macro.

These differences have to do with the available input and output modules, which are different:. The Latch and Bool C types of ports will be explained much later in this manual and are used for advanced stuff. The remaining properties of the macro control various aspects of its appearance and its signal processing.

We also advise changing the FP Precision sparingly. The meaning of these parameters will be described in the advanced topics of this manual. The next thing is to create a set of inputs and outputs for our Tape Delay macro:. The upper input will receive the audio input, and the lower will receive the time parameter. You may have noticed extra ports on the left side of the input modules; we will explain them a little bit later. As the central part of our macro we will use the same Delay 4p module:.

A simple emulation of the saturation effect can be done easily by connecting a saturator module before the delay. Saturator is a kind of signal shaper, so we will look for it among the audio shapers because it is an audio saturator. The input signal will now be saturated within the range of — Actually, the range is controlled by the L input of the saturator module, if it is disconnected it defaults to 1. That might be surprising to you because you are probably used to disconnected inputs being treated as if they receive no signal, or put differently, a zero signal.

Well, this is not exactly the case in Reaktor Core structures—modules can specify special treatment for disconnected inputs. Now we are going to learn to do exactly the same, by specifying a new default value for our T input. Very easy. This is what you should see:. In addition, you should have the properties window displaying the properties of the constant if it shows a different page, press the tab :.